A review of Efua Sutherland’s Edufa staged at the National Theatre on the 29th September, 2024 at the National Theatre, Ghana.
Synopsis of the play
Edufa is Efua Sutherland’s adaptation of the Greek classical play Alcestis written by Euripides and planted into the Ghanaian setting. The play recounts the story of Edufa, an affluent man on a quest to sustain his wealth. He seeks spiritual fortification from a diviner and the diviner tells him that death is knocking on his door and the only way to avert his fate is to find someone willing to die in his stead. Edufa goes home and summons his household, and cunningly asks, “Who loves him enough to die for me?” Unknown to Ampomaa, his wife, Edufa conceals a charm on his body while she innocently promises to die for him. As D-day approaches, Ampomaa gets weaker and dies the same day; her husband should have died.
This review will only cover the first show which was staged on Sunday, September 29th, 2024 at 4pm. This will discuss the following elements: acting, set, props, light, sound, costume, makeup, audience reaction, and finally, score the production over 10.
Acting.
Staging tragedy is one of the Herculean tasks in theatre. If the play is not treated well, the audience will find it boring and leave before the curtain falls. From what I witnessed, the actors did justice to the script. Every actor understood the assignment and delivered well.
ABENA opened the play well. Her facial expressions and gestures created the impression that something was wrong in Edufa’s house. Valerie was the actor who carried the role. She influenced the mood greatly. However, at the beginning of the prologue, she seemed to have recited the lines and again, one could hardly hear the monologues. But after entering Edufa’s room, she gained a heavy momentum which brought out the clarity and inflections in her voice till the end of the play. She demonstrated a brother-sister relationship with Edufa as she was worried for him about how his wife’s health kept deteriorating and the house becoming empty and boring. Her fante dialect and adlibs complemented her role.
And to EDUFA himself. Fiifi Coleman handled the role perfectly. Great casting. His presence was also felt on stage. His intonation in the voice projected him well. His voice was deep anytime he commanded. And in cases where he pleaded, he used a soft voice. His scenes with Ampomaa were emotional especially the part where he swore never to marry again. He also confronted his father well as he asked occasionally “What do you want”?.. It was exceptional how he switched suddenly and wept uncontrollably like a child. Very pathetic to find him breaking down after the serious exchange with his father. Again, his gestures were brilliant. Talk of his reaction to the chorus and as well as that of his bosom friend, Senchi during the party scene. He equally wore a bizarre face to register his discomfort when his wife placed her waist beads around his neck. Lastly, his reaction to his wife’s death was really sad as he pitifully aesthetically left the stage.
AMPOMAA. Wow… For once I thought she was truly sick and was forced to play the role. Believability was evident. Gadede Segbefia who played the role modulated her voice to depict someone in pain and suffering. Her encounter with Edufa where she asked him to swear never to marry again was just breathtaking. Her facial expressions were just excellent. Think of when she asked her husband to take care of the children and when she imagined speaking to “Death”. These moments resonated and communicated the message that she was gradually approaching her death. How she forcefully served the food party scene amid her illness registers her character as a caring wife. Her final monologues at the party scene were extremely emotional. Lastly, the manner she artistically fell three times on the stage was intriguing. She deserves accolades.
KAMKAM was another interesting figure to watch. Role well understood. Ken Fiati mastered this role. He walked briskly with his walking stick to show that he is aged. Right from his brilliant entrance into Edufa’s house, the audience could decipher that he wasn’t on good terms with his son. He confronted Edufa and boiled his temper but it was hilarious for him to sit on the chair offered to him by his opponent. He made meaning to his lines and brought great energy onto the stage as he communicated with the audience. He kept eye contact with the audience when he began to spill out Edufa’s secrets of forcing his wife to die in his place. His exit from the house was as great as his entrance.
SENCHI. He is the player who brought the outmost joy onto the stage amidst the sorrow. Kwabena Okyere carried a different vibe onto the stage. He acted like an old friend to Edufa just as the dialogues had described him. His dance with the chorus was very captivating and funny too. He tackled his lines perfectly and made the audience laugh their lungs out. His somewhat bad singing vocal confirms his character as a failed musician. Again, His chemistry with Edufa’s sister was brilliant and projected him as a lover boy or a con man. He made the party scene very engaging and interesting. It was observed that he played the harmonica to harmonize the song sung by the chorus. As a Master of Ceremony, he graced the party scene well. Finally, he demonstrates his ignorance of the current state of affairs in Edufa’s house through his facial expressions. When it is revealed to him that Ampomaa’s health is falling and things have changed in the house, he suddenly switches his mood from joy to melancholy and sympathizes with them. He ended the play arousing pity and fear in the eyes of the audience.
SEGUWA. She was also great to watch. She understood the role and was loyal to her master. She obeys her master and acts upon his orders. Mavis Owusu- Abrokwah used the stage judiciously and held the casket very well in her hands. Again, her stage business was perfect. Through her gestures, she drew the attention of the audience when Ampomaa fell for the third time. Personally, I forgot and missed the count but her gestures reminded me of the omen yet to happen.
Another interesting Actor was SAM. He also served as a comic relief and handled the role well. Maxwell Esiful who played this role made the audience believe that he was really an “idiot” through his speech and hysterical laughter. He again behaved like a child and answered Edufa’s questions in a somewhat silly manner. It was also funny to find wandering on the stage and disturbing the household. I like the manner in which he scared Edufa with the sacred owl. It was not surprising to see the audience applauding him while he exited the stage. Great acting techniques exhibited.
Finally, the CHORUS collaborated well. Their presence influenced the atmosphere of the play. They spoke in unison without any voice overshadowing the other. Araba Dansowaa , Grace Adjetey, Ewuraefua Biney, Vanessa Adams, Ernestina Adoko, and Magadline Fynn acted the chorus effortlessly. The way they greeted and responded to the greetings was simply amazing. It was soothing to hear them sing. Again, with their first appearance, it was such a spectacle when they chanted and drove away bad spirits holding their bamboo sticks and leaves. They made the audience laugh with their funny gestures. With their second appearance, they kept the party scene alive as they listened and reacted to the stories you told by Senchi and the love story of Edufa and Ampomaa. They were proactive and mourned the death of Ampomaa. They were exciting to watch.
The technical aspects.
The set was very elaborate. The story building depicted Edufa’s affluence. It was a beautiful set and well-furnished with art paintings and sculptures. But I must admit that there were too many arts displays on the set which got me thinking if Edufa was a lover of art works…
Again, the silhouette created was very creative as it visually projected the suffering of Ampomaa as she lay on her sick bed. Kudus to Prince Kojo- Hilton the set designer.
Sound
Sound cues for this production were on point. The house music that tells the story of Edufa suites perfectly for the production. Other sound cues like the “Suspense sound” gave a glue of an impending omen or event. The sound of an owl amongst others influenced the tense or tragic mood of the play. Sound did fill in the scenes that the actors delayed to appear. In all, sound treated this play justly.
Light
Light controlled this production brilliantly. It distinguished the night, morning, and afternoon. It registered with these time changes with the special lighting system. It was brilliant of them when they focused Sunlight on Ampomaa to warm her body and darkened the stage with the blue light for the night scene which featured in. The color blend used on the silhouette was perfect. It gave the audience a great picture. Their fade-ins and outs were just excellent to watch. However, the lighting team failed to collaborate with the props team to create fire flame and firewood for Abena to boil the Ampomaa’s herbs.
Props
Props did most necessary are provisions for the production. The black pot, flower pots, bamboo sticks the magic owl, plates, cups, champagne, waist beads, the three stones just to mention a few. These props were put to good use by the actors.
Costume and Makeup
Costumes were carefully selected and pulled. Edufa’s coat(Attire ), Father’s Smock, and Seguwa’s mighware were costumed appropriately and it gave a clue of their character even before they uttered a word. Sam also wore a tattered costume to show he is mentally unfit, and the chorus used red and black cloth to drive away the evil spirit and wore colorful Costumes and Afro wigs for the party scene respectively. I must commend the makeup team for creating Ampomaa’s wrinkled lips, protruding eyes, and pale body to show her illness. Interestingly, the costume lead missed an essential detail, Senchi’s shoes looked too fresh and shiny. For someone who had traveled a long way, a little dirt or dust on his shoes wouldn’t be bad.
Audience reaction.
The audience had a good time. Though very tragic, they followed till the end. We were mostly intrigued by the scenes of the chorus, Edufa, Ampomaa, Senchi, and Sam.
I must say it was a great attempt by Fiifi Coleman Production and the National Theatre. I rate this production 9./10. A tragedy well treated in two hours.
By the detailed reviewers.